The following report documents my 480-hour internship from August 17th, 2015 to January 29th, 2016 in the Education and Public Programs Department at the Contemporary Arts Center (CAC). I worked closely with the Marketing and Visual Art Departments. I chose the organization to experience an environment that commits itself to presenting high quality performing and visual arts. This paper assesses the CAC’s history, present day status, and future outlook. It also offers suggestions on how certain aspects can be improved in order to extend the organization’s longevity. Over the course of five months I observed strengths, weaknesses, opportunities and threats to the organization. Additionally, using knowledge gained from my Arts Administration classes and personal observations, this paper offers predictions as to the organization’s future.

Estar en contacto con las artes nos trae múltiples beneficios, por lo que el CAV tiene como objetivo principal, la difusión del arte y de la cultura, donde la expresión creativa responde a una finalidad y a un uso. Actualmente los centros de exposición y de educación de arte dentro de Lima Metropolitana, se encuentran centralizados principalmente en los distritos de Cercado de Lima, Miraflores y Barranco, por lo que el proyecto propone ser un punto de encuentro y de integración de la ciudad en Lima Norte, espacio inexistente a pesar del exponencial crecimiento demográfico. El centro busca concebir espacios adecuados, en donde los artistas puedan desarrollar y producir sus creaciones, así como generar una interacción entre los usuarios. Propio de la identidad multicultural de la zona, el arte urbano se convierte en una potente herramienta integradora dentro de la ciudad, por lo que el arte de las calles es llevado a las galerías. De igual manera, el centro concibe una escuela con visión empresarial y enseñanza integral, en donde el estudiante puede insertarse en el mundo laboral dentro de un corto plazo. / Being in contact with the arts brings us many benefits, thats why the center has as its main objective, the difussion of art and culture, where creative expression responds to a purpose and to a use. Currently the art exhibition and education centers within Lima Metropolitana, are centralized mainly in the districts of Cercado de Lima, Miraflores and Barranco, so the project proposes to be a meeting and integration point of the city in Lima Norte, non-existent space despite exponential demographic growth. The center seeks to conceive suitable spaces, where artists can develop and produce their creations, as well as generate an interaction between users. Owing to the multicultural identity of the area, urban art becomes a powerful integrating tool within the city, so that streert art is taken to the galleries. Furthermore, the center conceives a school with a business vision and an integral education, where the student can be inserted into the working world within a short time. / Tesis

This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines. / text

Indiana University-Purdue University Indianapolis (IUPUI) / Performing arts centers have been touted as a strategy for revitalizing downtowns by increasing activities that bring in residents with higher incomes, tourists, arts employees, educated workers, and housing. Despite their popularity, civic leaders have encountered complexity in these projects, from financial challenges, to delayed openings and operating deficits. Previous downtown studies examine public facilities, such as stadiums and cultural institutions, through essays, surveys, case studies, or by quantifying transactions exchanged between the public and the facility. This dissertation focuses solely on performing arts centers, excluding all other forms of public facilities and cultural venues, by examining self-collected data on literature-based characteristics of 218 downtowns with and without performing arts centers, all over a seven-year period of time. It was hypothesized that the presence of a performing arts center would contribute to increases in the values of all downtown revitalization characteristics, and community characteristics, as well as organizational attributes of the performing arts center itself (age, size, and revenue types) would in turn, increase the values of the overall health of the performing arts center. Through the use of multiple linear regressions, this research shows that performing arts centers can play a role in revitalizing downtowns. This research also shows that a single characteristic is not solely responsible for revitalizing downtowns; rather, the increased vitality results from a confluence of the characteristics. Endogeneity tests show that a performing arts center is less likely to enter a deserted downtown bereft of vitality. Instead, performing arts centers serve as harbingers of revitalization, confirming the presence of downtown vitality, before they proceed to activate vitality further. Finally, through the use of binary logistic regressions, community characteristics are identified in order to determine the conditions of downtowns that would be most equipped to open a performing arts center, as compared with downtowns that could not.

科学研究費補助金 研究種目:一般研究(C) 課題番号:06650682 研究代表者:清水 裕之 研究期間:1994-1995年度

Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.